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CONCERT PROGRAM
September 12-13, 2014
David Robertson, conductor
Yem Bronfman, piano
Erin Schreiber, violin
S. Katy Tucker, visual design
SMITH The Star-Spangled Banner
arr. Sousa/Damrosch
BRAHMS Piano Concerto No. 1 in D minor, op. 15 (1854-59)
(1833-1897)
Maestoso
Adagio
Rondo: Allegro non troppo
Yem Bronfman, piano
INTERMISSION
VAUGHAN WILLIAMS The Lark Ascending (1914, rev. 1920)
(1872-1958)
Erin Schreiber, violin
NIELSEN Symphony No. 4, op. 29, The Inextinguishable
(1865-1931) (1914-16)
Allegro
Poco allegretto
Poco adagio quasi andante
Allegro
Visual enhancements during intermission and during the stage change between The Lark
Ascending and Symphony No. 4, The Inextinguishable, are designed by S. Katy Tucker,
underwritten in part by a RAC Innovation Fund Grant from the Regional Arts Commission.
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ACKNOWLEDGMENTS
These concerts are part of the Wells Fargo Advisors Series.
These concerts are underwritten in part by a RAC Innovation Fund Grant from
the Regional Arts Commission.
David Robertson is the Beofor Music Director and Conductor.
Yefm Bronfman is the Mr. and Mrs. Ernest A. Eddy Guest Artist.
The concert of Friday, September 12, is underwritten in part by a generous gift
from Mr. Francis Austin and Dr. Virginia V. Weldon, MD.
The concert of Saturday, September 13, is underwritten in part by a generous
gift from the Edison Family Foundation.
Pre-Concert Conversations are sponsored by Washington University Physicians.
Large print program notes are available through the generosity of the Delmar
Gardens Family and are located at the Customer Service table in the foyer.
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FROM THE STAGE
Shannon Wood, Principal Timpani, on Nielsens Symphony No. 4, The Inextinguishable:
It calls for two timpanists, one on each side of the stage. The fnale has a dueling
section, in which the timpani are depicting battle, or war, or the will to survive, to
live, as part of the inextinguishable theme of the work.
The duel is in the fourth movement. Its as if we are answering each
other. One timpani goes at it, then the other timpani goes at it. You can think
of it like guitar duels in rock concerts. Maybe Ill toss my stick out to the audi-
ence at the end. Or Ill kick the drums Keith Moon style.
Shannon Wood
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TIMELINKS
1854-59
BRAHMS
Piano Concerto No. 1 in
D minor, op. 15
Composer Robert
Schumann dies in an
insane asylum
1914
VAUGHAN WILLIAMS
The Lark Ascending
World War I begins
1914-16
NIELSEN
Symphony No. 4, op. 29,
The Inextinguishable
Battle of Verdun ends
with 330,000 killed and
wounded on both sides of
conict during 10 months
of ghting
JOHANNES BRAHMS
Piano Concerto No. 1 in D minor, op. 15
BRAHMSS BIZARRE LOVE TRIANGLE Johannes
Brahmss Piano Concerto No. 1 is a radical, tur-
bulent work with a long and tortured gestation
period. During the nearly fve years that elapsed
between the preliminary sketches and the fnal
revisions, Brahms was living a soap opera. In
the winter of 1854, his cherished mentor Robert
Schumann threw himself into the Rhine and
was sent to a sanatorium, where he would spend
the rest of his life in virtual exile, declining from
delusional to nearly catatonic. Even sadder: his
doctors prohibited visits from his wife, Clara, a
famous piano virtuosa and his greatest cham-
pion, as well as the mother of their seven children.
As soon as he heard about Roberts suicide
attempt, Brahms rushed to the familys aid,
living among them as man of the house. He and
Clara became more than friends, if not quite
lovers. Although she was nearly 14 years older,
Brahms wrote her countless ardent letters. Yet
when Robert died, in July of 1856, Brahms did
not ask Clara to marry him and made it clear that
he never would. She remained his beloved muse,
collaborator, and confdante, but he craved free-
dom. For the rest of his life, he would have sex
with prostitutes while carrying on intimate but
platonic affairs with the women he loved.
TURMOIL AND TRANSFORMATION Before this
music was a concerto, it was a sonata for two
pianos and then a symphony. Brahms, an inex-
perienced orchestrator in his early 20s, became
blocked and put the project aside for two years,
until Roberts death compelled him to revisit it.
He struggled with the score, now a piano con-
certo, for another three years, scrapping most of
his preliminary efforts but retaining the tumul-
tuous opening. The frst movement is in sonata
form, but only to a point. There are wrenching
breaks, themes shoving each other aside in the
harmonic welter. The frst measures are studded
IN DISASTERS WAKE
BY REN SPENCER SALLER
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with devilish tritone intervals, shockingly dis-
sonant to Brahmss contemporaries and still
unsettling today. As Jan Swafford explains in his
essential Brahms biography, the beginning of
the Concerto evoked the tragedy that preceded
its inspiration by a few days: Robert Schumanns
leap into the Rhine.... If the vertiginous opening
moments of the concerto are applied to the image
of a desperate man leaping into the water, they
become almost cinematically, kinetically apt.
The serene and radiant Adagio originally bore a
religious inscription, a benediction from the Latin
mass. Devotional in tone, the second movement
is both an elegy for Robert and a tender portrait,
in Brahmss own words, of Clara, whom he had
once described as going to the concert hall like a
priestess to the altar. The assertive, driving fnale
follows a traditional rondo form and seems par-
ticularly indebted to Beethovens Piano Concerto
No. 3 in C minor.
Even after all the angst surrounding the
composition of the First Piano Concerto, Brahms
was feeling hopeful about its frst performances.
He was the soloist, and rehearsals had gone
splendidly. But after a coolly polite reception in
Hanover, its offcial premiere at the prestigious
Leipzig Gewandhaus was an unqualifed disas-
ter. He played well, but everyone, even the con-
ductor, hated the music. Brahms tried to take it
in stride, writing to an old friend that the failure
has made no impression whatever on me.... After
all, Im only experimenting and feeling my way as
yet. But the hissing was too much of a good thing,
wasnt it? Despite his attempt at humor, the fail-
ure did affect him. He continued to compose, in
his painstaking, self-critical way, but he waited
another 15 years before he offered the public a
work of similar ambition.
Born
May 7, 1833, Hamburg
Died
April 3, 1897, Vienna
First Performance
January 22, 1859, in Hanover;
the composer played the
solo part, and his friend
Joseph Joachim conducted
STL Symphony Premiere
December 19, 1913, Harold
Bauer was soloist, with Max
Zach conducting
Most Recent STL Symphony
Performance
November 7, 2010, Emanuel
Ax was soloist, with Hannu
Lintu conducting
Scoring
solo piano
2 utes
2 oboes
2 clarinets
2 bassoons
4 horns
2 trumpets
timpani
strings
Performance Time
approximately 44 minutes
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RALPH VAUGHAN WILLIAMS
The Lark Ascending
LIFE DURING WARTIME The day that England
entered World War I, Ralph Vaughan Williams
was vacationing on the coast of Margate, in Kent.
Contrary to his second wife Ursulas account
some 50 years later, he was not watching troops
embark for France when he began The Lark
Ascending. In fact, as he strolled the cliffs near his
seaside resort, his mind mostly on melodies, he
may not have realized exactly what he was wit-
nessing: ships engaged in feet exercises. A tune
popped into his head, and he pulled out a note-
book to jot it down. A boy saw him, assumed that
he was a spy scribbling code for the enemy, and
reported him to a police offcer, who arrested and
briefy detained him.
Later in 1914, Vaughan Williams enlisted in
the army, despite being 41 years old. He put aside
the score for The Lark Ascending while he served as
a private in the Royal Army Medical Corps. After
years bearing stretchers in France and Greece,
he was commissioned as a second lieutenant.
The incessant gunfre damaged his hearing and
contributed to the severe deafness that he suf-
fered in his old age, but most of his injuries were
emotional. As with Elgar and so many others, the
Great War left him deeply disillusioned. The hor-
rifc carnage that he witnessed on the front and
the devastation of his native country made him
nostalgic for the bucolic landscapes of the past.
In 1919 he returned to The Lark Ascending.
Originally written for violin and piano and
later scored for orchestra, the work was inspired
by George Merediths poem of the same name.
Vaughan Williams copied 10 nonconsecutive
lines from it on the fyleaf of his score. Like
Meredith, who was buried in the town cemetery,
Vaughan Williams spent most of his life in the
then-rural village of Dorking, Surrey, and had
many real-life opportunities to hear the larks
silver chain of sound. A triumph of mimesis,
the pentatonic trills and fourishes of the solo
violin suggest both the birds song and its fight
over the English landscape. A gradual change
in tempo hints at bygone village festivals, but
the music is too free and rhapsodic to be strictly
Born
October 12, 1872, Down
Ampney, England,
Died
August 26, 1958, London
First Performance
June 14, 1921, Marie Hall was
soloist, with Adrian Boult
conducting the premiere
of the orchestral version at
Shirehampton Public Hall
STL Symphony Premiere
October 3, 2008, Heidi
Harris was soloist, with David
Robertson conducting a
Classical Detours English-
themed concert, for the only
previous performance
Scoring
2 utes
oboe
2 clarinets
2 bassoons
2 horns
triangle
strings
Performance Time
approximately 13 minutes
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programmatic. After its frst orchestral performance in June of 1921, a critic
from The Times wrote admiringly, It showed serene disregard for the fashions
of today or yesterday. It dreamed itself along.
HIDING IN PLAIN SIGHT Earlier this year a U.K. radio station announced
that The Lark Ascending was Britains favorite classical work. Fans of the long-
running British soap opera Coronation Street sobbed while a character died
to its familiar strains this past January. But the enduring appeal of Vaughan
Williamss most famous work isnt just another baffing English quirk, like
Marmite and Cliff Richard: In 2011, when New Yorkers were asked to select
music for the 10th anniversary of the 9/11 terrorist attacks, The Lark Ascending
came in second.
The real problem with familiarity is not that it breeds contempt.
Contempt, after all, requires attention. Familiarity kills when we stop expe-
riencing fne and beautiful things as they are, in the holy moment, and turn
instead to dead metaphors and pat explanations. In that explicative thicket,
its hard to discern one smallish, brownish bird of a species that few of us see
anymore. But like The Lark Ascending, it is fne and beautiful. Stop making it
stand for stuff, and let it soar away.
CARL NIELSEN
Symphony No. 4, op. 29, The Inextinguishable
DISINTEGRATING WORLD, INEXTINGUISHABLE LIFE When Carl Nielsen began
Symphony No. 4, World War I had just started, and his home life was in
chaos as well. His wife, an independent-minded sculptor, was unhappy that
her almost-50-year-old husband was having sex with the nanny, and they
soon separated. Being Danish, not to mention well into his middle age,
Nielsen didnt need to worry about being sent off to war. His military service
ended after his stint as a bugler for the regimental army, from age 14 to 19 or
so, and Denmark had been at peace since 1864.
Although Denmark was neutral during the First World War, it was
very much on Nielsens mind when he wrote his Fourth Symphony. The
wars unprecedented horrorsmustard gas and machine guns, typhoid and
trenches, millions of dead troops and civilians alikecould not be ignored. In
a letter to a friend, he wrote, Its as if the world is disintegrating. National
feeling, that until now was distinguished as something lofty and beautiful, has
become a spiritual syphilis and it grins hideously through empty eye-sockets
with dreadful hatred. The Great War was still raging when he completed the
symphony two years later, in 1916. Separated from his wife and more intro-
spective than usual, he planned out a symphony with the rather grand concept
of expressing what we understand by the spirit of life or manifestations of
life, that is: everything that moves, that wants to live. The symphonys title,
The Inextinguishable (Det uudslukkelige), was not meant to describe the sym-
phony itself but rather the elemental life force that it celebrates.
Nielsen wrote his own program notes, which read like a cross between a
mystical manifesto and a Charles Darwin gloss: The symphony evokes the
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most primal sources of life and the wellspring
of the life-feeling; that is, what lies behind all
human, animal and plant life, as we perceive
or live it.... It is in a way a completely thought-
less expression of what makes the birds cry, the
animals roar, bleat, run, and fght, and humans
moan, groan, exult, and shout without any expla-
nation. The symphony does not describe all
this, but the basic emotion that lies beneath all
this. Music can do just thisbecause, by simply
being itself, it has performed its task. For it is life,
whereas the other arts only represent and para-
phrase life. Life is indomitable and inextinguish-
able; the struggle, the wrestling, the generation,
and the wasting away go on today as yesterday,
tomorrow as today, and everything returns. Once
more: music is life, and like it inextinguishable.
The symphony is in four movements, but
they are played attacca subito, without pause,
refecting Nielsens understanding of life as a
ceaseless struggle, a constant fow of energy.
Central to this concept, the symphony has
no home key, no harmonic anchor. Instead,
Nielsen organized his own tonal scheme, one that
better approximated the primal energies of life. It
starts in no particular key and inexorably works
toward the goal of E major, its path unpredictable
and guided by protean forces. As Robert Simpson
wrote, The fnal establishment of the key has all
the organic inevitability and miraculous beauty
with which the fower appears at a plants point
of full growth. From the frst movements desta-
bilizing tritones and spasmodic, almost Psycho-
esque violas to the dueling sets of timpani at the
fnales convergence, the Fourth earns its exalted
E-major ending. The frst movements secondary
theme, a descending fgure initially voiced by the
clarinets, returns in the concluding crescendo of
brass, woodwinds, and low strings.
Program notes 2014 by Ren Spencer Saller
Born
June 9, 1865, Sortelung,
Denmark
Died
October 3, 1931, Copenhagen
First Performance
February 1, 1916, in
Copenhagen; the composer
conducted the orchestra
of the Copenhagen Music
Society
STL Symphony Premiere
February, 28, 1974, Jerzy
Semkow conducting
Most Recent STL Symphony
Performance
November 11, 2006, JoAnn
Falletta conducting
Scoring
3 utes
piccolo
3 oboes
3 clarinets
3 bassoons
contrabassoon
4 horns
3 trumpets
3 trombones
tuba
2 timpani
strings
Performance Time
approximately 35 minutes
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DAVID ROBERTSON
Beofor Music Director and Conductor
A passionate and compelling communicator
with an extensive orchestral and operatic reper-
toire, American conductor David Robertson has
forged close relationships with major orches-
tras around the world. In fall 2014, Robertson
launches his 10th season as Music Director of
the 135-year-old St. Louis Symphony. In January
2014, Robertson assumed the post of Chief
Conductor and Artistic Director of the Sydney
Symphony Orchestra in Australia.
To celebrate his decade-long tenure with the
St. Louis Symphony in 2014-15, Robertson will
showcase 50 of the orchestras musicians in solo
or solo ensemble performances throughout the
season. Other highlights include a concert per-
formance of Verdis Ada featuring video enhance-
ments by S. Katy Tucker (one of a series of such
collaborations during the season), and a return
to Carnegie Hall with a program featuring the
music of Meredith Monk. In 2013-14, Robertson
led the St. Louis Symphony in a Carnegie Hall
performance of Brittens Peter Grimes on the
Britten centennial that Anthony Tommasini, in
the New York Times, selected as one of the most
memorable concerts of the year, and in the spring
Nonesuch Records released a disc of the orches-
tras performances of two works by John Adams:
City Noir and Saxophone Concerto.
Robertson is a frequent guest conductor
with major orchestras and opera houses around
the world. In his inaugural year with the Sydney
Symphony Orchestra, he led the ensemble in a
seven-city tour of China in June 2014. He also led
the summer 2014 U.S. tour of the National Youth
Orchestra of the United States of America, a proj-
ect of Carnegie Halls Weill Music Institute, in
cities including Boston and Chicago, culminating
in a concert at Walt Disney Concert Hall in Los
Angeles. In the fall of 2014, David Robertson con-
ducts the Metropolitan Opera premiere of John
Adamss The Death of Klinghoffer.
M
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David Robertson begins
his 10th season as St. Louis
Symphony Music Director.
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YEFIM BRONFMAN
Mr. And Mrs. Ernest A. Eddy Guest Artist
Yefm Bronfman is widely regarded as one of the
most talented virtuoso pianists performing today.
His commanding technique and exceptional lyri-
cal gifts have won him consistent critical acclaim
and enthusiastic audiences worldwide.
Summer festivals at Tanglewood, Aspen, Vail,
La Jolla, and a residency at the Santa Fe Chamber
Music Festival provide the starting point for his
2014-15 season, which will include performances
in the U.S. with the symphonies of Chicago (with
whom he also appears in Carnegie Hall), San
Francisco, Dallas, Seattle, Atlanta, Pittsburgh,
the New World Symphony, Metropolitan
Orchestra, and the New York and Los Angeles
Philharmonics. Continuing his commitment to
contemporary composers, the world premiere
of a concerto written for him by Jrg Widmann
is scheduled with the Berlin Philharmonic in
December as well as performances of Magnus
Lindbergs Concerto No. 2 with the Gteborgs
Symfoniker and the London Philharmonic. With
the Cleveland Orchestra and Franz Welser-Mst,
he will play and record both Brahms concertos,
repertoire he will also take to Milans La Scala
with Valery Gergiev.
After a break of many years, Bronfman will
return to Japan for recitals and orchestral con-
certs with Londons Philharmonia Orchestra
and Esa-Pekka Salonen, and to Singapore, Hong
Kong, Taipei, Beijing, Sydney, and Melbourne. In
the spring he will join Anne-Sophie Mutter and
Lynn Harrell for their frst U.S. tour together.
Born in Tashkent in the Soviet Union on April
10, 1958, Bronfman immigrated to Israel with his
family in 1973, where he studied with pianist
Arie Vardi, head of the Rubin Academy of Music
at Tel Aviv University. In the United States, he
studied at the Juilliard School, Marlboro, and the
Curtis Institute, and with Rudolf Firkusny, Leon
Fleisher, and Rudolf Serkin. Yefm Bronfman
became an American citizen in July 1989.
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Yem Bronfman joined the
St. Louis Symphony for an
East Coast tour in 1989.
First STL Symphony
Performance
October 1979
Most Recent STL Symphony
Performance
November 2012
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ERIN SCHREIBER
Erin Schreiber has studied the violin since age
four. She has appeared in recital throughout the
U.S., as well as in London, Sweden, and most
recently Neuenkirchen, Germany. She has also
appeared as soloist with the Richardson, Gateway,
and Alton Symphony orchestras, and has per-
formed for such dignitaries as Colin Powell and
former President Jimmy Carter. Schreiber has
won the Lennox Young Artists Competition,
the St. Louis Italian American Federation Young
Artists Competition, the pre-college strings divi-
sion of the Corpus Christi International Young
Artists Competition, and the Junior division of
the Kingsville International Competition. She has
twice been the recipient of the prestigious Buder
Foundation Music Grant, as well as three-time
recipient of the Anita Crane Music Scholarship.
Past teachers have included Roland and Almita
Vamos, Elisa Barston, and Robert Lipsett. Erin
Schreiber studied with Joseph Silverstein and
Pamela Frank at the Curtis Institute of Music
in Philadelphia. She assumed the duties of St.
Louis Symphony Assistant Concertmaster in
September 2008.
Erin Schreiber debuted as
a soloist with the St. Louis
Symphony performing
Berios Corale (on Sequenza
VIII) in November 2011.
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S. KATY TUCKER
Katy Tucker is a video and projections designer
based in New York City. Tucker began her career
as a painter and installation artist, exhibiting
her work at a variety of galleries, such as the
Corcoran Museum in Washington, D.C. and
Artists Space in New York City. In 2003, as her
video installations became more theatrical,
Tucker shifted her focus to video and projection
design for the stage.
Since 2003, Tucker has worked all over the
U.S. and world including Broadway, off-Broad-
way, the Metropolitan Opera, New York City
Ballet, Carnegie Hall, Park Avenue Armory, BAM,
Disney World, Kennedy Center, San Francisco
Opera, and more.
Upcoming productions include: Two Women
with Francesca Zambello at San Francisco Opera
and Teatro Regio di Torino, Carmen at Wolf Trap
Opera, and Dream Seminar with Pat Diamond.
Recent productions include: Prince Igor with
Dmitri Tcherniakov at the Metropolitan Opera and
The Flying Dutchman with the Sydney Symphony
at the Sydney Opera House, where Tucker joined
forces again with David Robertson to create a
holistic environmental experience. Since 2012,
Tucker has worked for the Metropolitan Opera,
helping to re-create old projection artwork and
transforming it into an improved digital format
for repertory operas such as: Otello, La clemenza
di Tito, and Francesca Zambellos Les Troyens.
Tucker is a member of Black Ship, a small
group of innovative creators that fuse arts and
entertainment in a variety of venues. She is also
a member of Wingspace Theatrical Design, a col-
lective of artists, designers, writers, and thinkers
committed to the practice of collaboration in the-
atrical design. In 2006, Tucker co-founded, with
partner Alexandra Morton, beatbox designs,
a New York and L.A.-based interdisciplinary
design frm that re-thinks and re-works the
boundaries between art, architecture, entertain-
ment and experience. S. Katy Tucker resides in
Fort Greene, Brooklyn.
S. Katy Tucker creates visual
enhancements to four
Symphony programs this
season.
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ON PLAYING THE INEXTINGUISHABLE:
SHANNON WOOD, PRINCIPAL TIMPANI
The slow section of the symphony,
which features so much pedaling, is
often called for in auditions. I played
it in my St. Louis Symphony audition.
Youre looking to hear clear changes
between notes, that youre hitting your
intervals correctly. There are also slight
tempo changes, and you need to pace it
just right. You have to be detailed about
it, and when played with the orchestra,
all the elements need to ft just right.
The timpani is really leading, but there
is a dirge quality, a pulling and tugging
sensation, slow, but with a lot of power.
A BRIEF EXPLANATION
You dont need to know what andante means or what a glockenspiel is to
enjoy a St. Louis Symphony concert, but its always fun to know stuff. For
example, what are tritones?
Tritone: the interval of an augmented fourth (or diminished ffth), spanning
three whole tones. In medieval times, it was known as diabolus in musica, or
the devil in music. Listen for it in the opening measures of Brahmss First
Piano Concerto, where the melody compulsively stresses the out-of-key note
A-fat, forming the tritone with the bass D. Youll hear it again during the
timpani battle in Nielsens Fourth Symphony, as the two players thunder out
menacing tritones that clash with each other and with the rest of the orchestra.
Shannon Wood
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YOU TAKE IT FROM HERE
If these concerts have inspired you to learn more, here are suggested source
materials with which to continue your explorations.
Jan Swaford, Johannes Brahms: A Biography
Vintage
Published in 1999 and still the Brahms bio
champion
Vanessa Thorpe, How the First World War
Inspired Britains Favourite Piece of Classical
Music
theguardian.com
Or how a stroll on the beach inspired The
Lark Ascending; google Vaughan Williams
Lark Ascending and youll fnd it
carlnielsen.dk/pages/biography.php
The Carl Nielsen Society provides lots of info
just a click away
Read the program notes online at stlsymphony.org/en/connect/program-notes
Keep up with the backstage life of the St. Louis Symphony, as chronicled by
Symphony staffer Eddie Silva, via stlsymphony.org/blog
The St. Louis Symphony is on
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AUDIENCE INFORMATION
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for more information.
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B
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WHEELCHAIR LIFT
BALCONY LEVEL
(TERRACE CIRCLE, GRAND CIRCLE)
GRAND TIER LEVEL
(DRESS CIRCLE, DRESS CIRCLE BOXES,
GRAND TIER BOXES & LOGE)
MET BAR
TAXI PICK UP
DELMAR
ORCHESTRA LEVEL
(PARQUET, ORCHESTRA RIGHT & LEFT)
KEY
WIGHTMAN
GRAND
FOYER
TICKET LOBBY
CUSTOMER
SERVICE
LOCKERS
WOMENS RESTROOM
MENS RESTROOM
ELEVATOR
BAR SERVICES
HANDICAPPED-ACCESSIBLE
FAMILY RESTROOM
POWELL HALL
B
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Q
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WHEELCHAIR LIFT
BALCONY LEVEL
(TERRACE CIRCLE, GRAND CIRCLE)
GRAND TIER LEVEL
(DRESS CIRCLE, DRESS CIRCLE BOXES,
GRAND TIER BOXES & LOGE)
MET BAR
TAXI PICK UP
DELMAR
ORCHESTRA LEVEL
(PARQUET, ORCHESTRA RIGHT & LEFT)
KEY
WIGHTMAN
GRAND
FOYER
TICKET LOBBY
CUSTOMER
SERVICE
LOCKERS
WOMENS RESTROOM
MENS RESTROOM
ELEVATOR
BAR SERVICES
HANDICAPPED-ACCESSIBLE
FAMILY RESTROOM
Please make note of the EXIT signs in the auditorium. In the case of an emergency,
proceed to the nearest EXIT near you.

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